She will wear horsey boots, but prefers a high-heeled version in embroidered suede.
Her gold-buttoned military coat hides a fetching black wool lace dress or printed ruffled skirt underneath.
Nighttime tells another story. Here our heroine shows her true feminine soul, in a bejeweled chiffon evening dress with spaghetti strapped V-neckline and ballerina skirt, or a transparent embroidered peasant blouse with matching shimmery silver silk skirt.
Footwear for the ballroom is an open-toed Victorian lace-up or a high-heeled Mary Jane. A pretty embroidered clutch bag reminiscent of a Faberge decorated egg complete the story.
Marni is getting decorative for next winter.
Big brooches, beads and sequins were featured in the womenswear collection — accents that are cropping up all over the current runways.
"Jewelry becomes an integral element of the garment," the fashion house noted.
Large white sequins and golden beads covered the front of a dress, a skirt and a clutch, creating the impression of an exotic flower garden. Round golden brooches mimicked buttons down the front of black jacket with short sleeves bedecked in golden sequins.
Designer Consuelo Castiglioni's collection carried a strong graphic element, both in the prints, seen in lightweight dresses, and the bold blocks of color on wool crepe dresses and suits — which showed off oversized pockets.
Marni's palette was black, tobacco, yellow and red, often contrasted pastels. Castiglioni paired, for example, a red belted coat with a dramatic cape effect with the palest blue cropped pants.
Castiglioni's silhouette was offbeat. Jackets flared slightly over cropped pants and knee-length skirts.
She created a fur shawl that finishes in wool crepe, giving the impression of a belted fur-collared coat from the front but in reality was completely open in the back. Asian-inspired tops and pants in matching prints suggested both comfort and disciplined construction.
For shoes, Marni offers Mary Jane sandals on flat platforms or thick high heels, often in gold. All the outfits were worn with white tights, and models' long straight hair framed the face.
AQUILANO AND RIMONDI
The Baroque hall replete with gilded accents, tapestries and a frescoed ceiling hinted at the richness to come.
Bejeweled and regal, Tommaso Aquilano and Roberto Rimondi womenswear recalled the royal courts of centuries past with an emphasis on gold-laced brocade and iridescent velvet.
The pair stayed close to their architectural style, building their dresses and tops out of panels in a sort of triptych — back, front and sides — that allowed them to mix textiles and colors.
The tops often resembled bustiers, and finished in short bubble skirts.
Here, as elsewhere on the Milan runways, the slim cropped pant was a mainstay, paired with swing coats with large shoulders, or double-breasted knee-length jackets, for a contrasting silhouette.
Fittingly, their color palette bears the name of jewels: ruby, emerald, sapphire, along with citrine, topaz and turquoise.
The pair let their imaginations run wild when it came to decorating the collection.
Tiny wisps of feathers covered a cocktail dress with sequined flowers — everything in black. Stiff golden bows graced the back of a coat, the sides of a dress. Beaded Byzantine crosses ran down the sides of a short dress.
The shoes also reflected the level of detail the designers put in. Velvet pumps and knee boots had large bows on the back, while brocade booties had velvet tips and silk ribbons.
The queen of cashmere, Laura Biagiotti, looks to the East next winter with fur and gold embroidery embellishing her classic woolen styles.
The runway was carpeted in shimmering bronze, to emphasize the eastern feel of the womenswear winter 2013 collection.